James Gunn’s Superman isn’t here to blow the roof off the cinematic universe. And that’s not a flaw — it’s a choice. As his first film in the new DC Universe (now dubbed “Gods and Monsters”), Gunn (of Guardians of the Galaxy and The Suicide Squad fame) isn’t trying to make you believe a man can fly all over again. Instead, he’s asking you to believe that the man under the cape still matters.

Unlike previous iterations, especially Zack Snyder’s darker, more brooding take on the Man of Steel, which divided fans, this version is refreshingly hopeful. It’s not a hard reset as Gunn draws tonal and thematic inspiration from All-Star Superman, a comic run known for its human-centred portrayal of the Kryptonian hero. And in doing so, he manages to challenge the recent perception of Superman as an all-powerful, untouchable symbol.

This Superman bleeds, literally and figuratively, and takes a beating more than usual. The film opens with a clever subversion: no crashed pod, no origin retelling. Gunn assumes you know all that already, and respects your time. Instead, he rolls out a brief world-building timeline that serves as a starter. *spoiler alert* 300 years ago, meta-humans first arrived on Earth. 30 years ago, Kal-El landed. Three years ago, he became Superman. And just three minutes ago, he lost his first real fight — lying bloodied on the ground before being rescued by Krypto, the superdog.

And just like that, we’re thrown into action. Superman doesn’t start this film triumphant, he starts it defeated. And that’s the point. He’s not the all-powerful hero yet. He’s still learning, still unsure, still finding his place. Gunn’s boldest move is showing us a Superman who isn’t invincible, but vulnerable. And while that may feel “un-Superman” at first, it’s actually what makes this story work. His strength lies in his humanity.

David Corenswet embodies this duality well — a Superman still forming, and a Clark Kent still fumbling through daily life. He brings earnestness to both personas without making either feel like a caricature.

Rachel Brosnahan as the passionate journalist Lois Lane is sharp and commanding, though their relationship arc feels a little uneven. One moment she’s uncertain, the next she’s all in. A bit more development here could’ve elevated their emotional payoff.

Then there’s Nicholas Hoult, who delivers a cold, calculating Lex Luthor. He’s not just a villain; he’s the philosophical counterpoint. His grudge isn’t personal, it’s ideological. He sees Superman as a threat to human supremacy, a freakish outlier who doesn’t belong. His mantra? Brains will always outpower brawn. It’s a fascinating angle, though one that could’ve benefited from a bit more history between the two.

Still, Hoult is magnetic. You even catch flashes of Tom Cruise in his performance — a shaved, smirking Les Grossman type from Tropic Thunder. He’s a proper menace, and his scenes crackle with tension.

What Gunn does well is populate Superman’s world without overwhelming it. Supporting superheroes like Hawkgirl, Mr. Terrific, and an unfiltered Green Lantern (Guy Gardner) don’t feel like unnecessary cameos. They enrich the film’s universe and offer just enough curiosity for what’s to come. There’s also a glimpse of Milly Alcock’s Supergirl, a quiet nod to her upcoming 2026 solo film. And yes, there are a couple of familiar faces that pop up too. Let’s just say, they’re fan-service done right.

But the heart of Superman’s emotional arc rests in his relationship with his Earth parents, which is beautifully handled and quietly powerful. Their presence grounds him. It’s those small, intimate moments and concern that give us insight into why Superman believes in hope, and why we should believe in him.

And then there’s Krypto. Yes, Gunn brings the superdog to life, inspired by his own rescue pup, Ozu. He'd adopted the pup while penning the script and its initial destructive traits serves as inspiration for the super-powered dog. Krypto brings heart, mischief, and some surprisingly moving moments. It’s the kind of personal detail that makes Gunn’s storytelling feel alive.

The film looks great. With a budget north of $200 million, the CGI is expectedly high-grade — from aerial brawls to world-threatening chaos and *spoiler alert* other dimensions. It’s superhero spectacle done right. Still, it always makes me wonder: how do cities recover from this much destruction? But hey — that’s the genre, and Gunn leans in without apology.

Tonally, the film strikes a confident middle ground: humorous without being silly, emotional without being melodramatic. And John Williams’s iconic theme woven into a guitar-driven score by John Murphy and David Fleming is a nice touch.

No, Superman isn’t a wow experience, but that’s perfectly fine. The film doesn't turn out to be a drag; you're not waiting for it to end so you can leave. It’s solid, sincere, and sets a promising tone for what’s to come. Gunn is only just getting started. This film doesn’t aim to be the best Superman movie ever made. It’s here to be the first chapter in something new. And for that, it succeeds.

Would I rewatch it in the cinemas? Probably not. But I would revisit it at home, especially once the DCU expands and this story becomes one piece of a larger puzzle.

Superman

Director: James Gunn

Cast: David Corenswet, Rachel Brosnahan, Nicholas Hoult

Stars: 3.5/5